An exuberant comedy of manners set in the world of digital media, Sociable is a deliciously irreverent satire about the capriciousness of internet fame, the bewildering sexual mores of online dating, the preening male ego in the workplace, and about what it means to be young, broke, dumped, and scarily good at creating viral content. When Elinor Tomlinson moved to New York with a degree in journalism she had visions of writing witty opinion pieces, marrying her journalist boyfriend, and attending glamorous parties with famously perverted writers. Instead, Elinor finds herself nannying for two small children who speak in short, high screams, sleeping on a foam pad in a weird apartment, and attending terrible parties with Harper’s interns wearing shapeless smocks and clogs. So when Elinor is offered a job at Journalism.ly, the digital media brainchild of a Silicon Valley celebrity, she jumps at the chance. Sure, her boyfriend is writing long think pieces about the electoral college for a real website while Elinor writes lists about sneakers and people at parties give her pitying glances when she reveals her employer, but at Journalism.ly Elinor discovers her true gift: She has a preternatural ability for writing sharable content. She is an overnight viral sensation! But Elinor’s success is not without cost. Elinor’s boyfriend dumps her, two male colleagues insist on “mentoring” her, and a piece she writes about her personal life lands her on local television. Destitute, single, and consigned to move to a fifth-floor walkup, Elinor must ask herself: Is this the creative life she dreamed of? Can new love be found on Coffee Meets Bagel? And should she start wearing clogs? With wry humor and sharp intelligence that skewers everyone from grand dame newspaper columnists to content farm overlords to peacoat-wearing lit bros, Sociable is a hilarious tale of one young woman’s search for happiness.

When Penelope O’Shaunessy, “an incoming freshman of average height and lank hair” steps into Harvard Yard for the first time she has lots of advice from her mother: "Don't be too enthusiastic, don't talk to people who seem to be getting annoyed, and for heaven's sake, stop playing Tetris on your phone at parties." Penelope needs this advice. She is the kind of girl who passes through much of her life with coffee spilled on her white shirt, who can't quite tell when people are joking, and who, inevitably, always says the wrong thing. But no amount of coaching will prepare Penelope for the people she meets at school. Gloriously skewering the social hierarchy of college, Penelope is the brilliantly funny story of one of the most singular, memorable heroines in recent fiction.

Denham Dobie has been brought up in Andorra by her father, a retired clergyman. On his death, she is snatched from this reclusive life and thrown into the social whirl of London by her sophisticated relatives. Denham, however, provides a candid response to the niceties of 'civilised' behaviour. Crewe Train is Macaulay's wittiest social satire. The reactions of Denham to the manners and modes of the highbrow circle in which she finds herself provide a devastating - and very funny - social commentary as well as a moving story. This bitingly funny, elegantly written comedy of manners is as absorbing and entertaining today as on the book's first publication in 1926.

This book substantiates two claims. First, the modern world was not simply produced by "objective" factors, rooted in geographical discoveries and scientific inventions, to be traced to economic, technological or political factors, but is the outcome of social, cultural and spiritual processes. Among such factors, beyond the Protestant ethic (Max Weber), the rise of the absolutist state and its disciplinary network (Michel Foucault), or court society (Norbert Elias), a prime role is played by theatre. The modern reality is deeply theatricalized. Second, a special access for studying this theatricalized world is offered by novels. The best classical novels not simply can be interpreted as describing a world "like" the theatre, but they capture and present a world that has become thoroughly transformed into a global theatre. The theatre effectively transformed the world, and classical novels effectively analyze this "theatricalized" reality – much better than the main instruments supposedly destined to study reality, philosophy and sociology. Thus, instead of using the technique of sociology to analyze novels, the book will treat novels as a "royal road" to analyze a theatricalized reality, in order to find our way back to a genuine and meaningful life.

Twentysomething Allie Simon is used to playing by the rules—until Chicago’s most sought-after, up-and-coming culinary genius, Benji Zane, walks into her world and pulls her into his. The only thing more renowned than Benji’s mouthwatering masterpieces and equally luscious good looks? His struggle with addiction and his reckless tendency to live life on the edge, no matter the havoc he wreaks along the way. But loving someone means supporting him no matter what, or so Allie tells herself. That’s why, when Benji’s offered the chance to light up foodie hot spot Randolph Street with a high-profile new restaurant, Allie takes the ultimate risk and invests her life savings in his dream. Then one day Benji disappears, relapsing to a place where Allie can’t reach him. Left with nothing but a massive withdrawal slip and a restaurant that absolutely must open in a matter of weeks, Allie finds herself thrust into a world of luxury and greed, cutthroat business and sensory delight. Lost in the mess of it all, she can either crumble completely or fight like hell for the life she wants and the love she deserves. With razor-sharp wit and searing insight, Emily Belden serves up a deliciously dishy look behind the kitchen doors of a hot foodie town, perfect for fans of Sweetbitter and The Devil Wears Prada.

A wildly entertaining debut about a Brooklyn Heights wife and mother who has embezzled a small fortune from her children's private school and makes a run for it, leaving behind her trust fund poet husband, his maybe-secret lover, her two daughters, and a school board who will do anything to find her. Marion Palm prefers not to think of herself as a thief but rather "a woman who embezzles." Over the years she has managed to steal $180,000 from her daughters' private school, money that has paid for European vacations, a Sub-Zero refrigerator, and perpetually unused state-of-the-art exercise equipment. But, now, when the school faces an audit, Marion pulls piles of rubber-banded cash from their basement hiding places and flees, leaving her family to grapple with the baffled detectives, the irate school board, and the mother-shaped hole in their house. Told from the points of view of Nathan, Marion's husband, heir to a long-diminished family fortune; Ginny, Marion's teenage daughter who falls helplessly in love at the slightest provocation; Jane, Marion's youngest who is obsessed with a missing person of her own; and Marion herself, on the lam--and hiding in plain sight.

A fast, funny, deeply hilarious debut--The Glitch is the story of a high-profile, TED-talking, power-posing Silicon Valley CEO and mother of two who has it all under control, until a woman claiming to be a younger version of herself appears, causing a major glitch in her over-scheduled, over-staffed, over-worked life. Shelley Stone, wife, mother, and CEO of the tech company Conch, is committed to living her most efficient life. She takes her "me time" at 3:30 a.m. on the treadmill, power naps while waiting in line, schedules sex with her husband for when they are already changing clothes, and takes a men's multivitamin because she refuses to participate in her own oppression. But when she meets a young woman also named Shelley Stone who has the same exact scar on her shoulder, Shelley has to wonder: Is she finally buckling under all the pressure? Completely original, brainy, and laugh-out-loud funny, The Glitch introduces one of the most memorable characters in recent fiction and offers a riotous look into work, marriage, and motherhood in our absurd world.

Baseball, first dubbed the “national pastime” in print in 1856, is the country’s most tradition-bound sport. Despite remaining popular and profitable into the twenty-first century, the game is losing young fans, among African Americans and women as well as white men. Furthermore, baseball’s greatest charm—a clockless suspension of time—is also its greatest liability in a culture of digital distraction. These paradoxes are explored by the historian and passionate baseball fan Susan Jacoby in a book that is both a love letter to the game and a tough-minded analysis of the current challenges to its special position—in reality and myth—in American culture. The concise but wide-ranging analysis moves from the Civil War—when many soldiers played ball in northern and southern prisoner-of-war camps—to interviews with top baseball officials and young men who prefer playing online “fantasy baseball” to attending real games. Revisiting her youthful days of watching televised baseball in her grandfather’s bar, the author links her love of the game with the informal education she received in everything from baseball’s history of racial segregation to pitch location. Jacoby argues forcefully that the major challenge to baseball today is a shortened attention span at odds with a long game in which great hitters fail two out of three times. Without sanitizing this basic problem, Why Baseball Matters remind us that the game has retained its grip on our hearts precisely because it has repeatedly demonstrated the ability to reinvent itself in times of immense social change.

Ingrid Yung's life is full of firsts. A first-generation Chinese American, the first lawyer in her family, she's about to collect the holy grail of "firsts" and become the first minority woman to make partner at the venerable old Wall Street law firm Parsons Valentine & Hunt. Ingrid has perfected the art of "passing" and seamlessly blends into the old-boy corporate culture. She gamely banters in the corporate cafeteria, plays in the firm softball league, and earnestly racks up her billable hours. But when an offensive incident at the summer outing threatens the firm's reputation, Ingrid's outsider status is suddenly thrown into sharp relief. Scrambling to do damage control, Parsons Valentine announces a new Diversity and Inclusion Initiative, commanding Ingrid to spearhead the effort. Only she's about to close an enormous transaction that was to be her final step in securing partnership. For the first time, Ingrid must question her place in the firm. Pitted against her colleagues, including her golden-boy boyfriend, Ingrid begins to wonder whether the prestige of partnership is worth breaching her ethics. But in The Partner Track by Helen Wan, can Ingrid risk throwing away the American dream that is finally within her reach?

Believed to have been killed in a car accident four years earlier, Patrick Lanigan is discovered living in Brazil under the name of Danilo Silva and presumably in possession of millions of dollars missing from his former firm's offshore account. Reprint. 35,000 first printing.

Sharp, dramatic, and full of insider dish, SOPHIA OF SILICON VALLEY is one woman’s story of a career storming the corridors of geek power and living in the shadow of its outrageous cast of maestros. During the heady years of the tech boom, incorrigibly frank Sophia Young lucks into a job that puts her directly in the path of Scott Kraft, the eccentric CEO of Treehouse, a studio whose animated films are transforming movies forever. Overnight, Sophia becomes an unlikely nerd whisperer. Whether her success is due to dumb luck, savage assertiveness, insightful finesse (learned by dealing with her irrational Chinese immigrant mother), or a combination of all three, in her rarified position she finds she can truly shine. As Scott Kraft’s right-hand woman, whip-smart Sophia is in the eye of the storm, sometimes floundering, sometimes nearly losing relationships and her health, but ultimately learning what it means to take charge of her own future the way the men around her do. But when engineer/inventor Andre Stark hires her to run his company’s investor relations, Sophia discovers that the big paycheck and high-status career she’s created for herself may not be worth living in the toxic environment of a boys-club gone bad.

Sisterhood is forever…whether you like it or not. Prep meets Girls in White Dresses in Genevieve Sly Crane’s deliciously addictive, voyeuristic exploration of female friendship and coming of age that will appeal to anyone who has ever been curious about what happens in a sorority house. Twinsets and pearls, secrets and kinship, rituals that hold sisters together in a sacred bond of everlasting trust. Certain chaste images spring to mind when one thinks of sororities. But make no mistake: these women are not braiding each other’s hair and having pillow fights—not by a long shot. What Genevieve Sly Crane has conjured in these pages is a blunt, in your face look behind the closed doors of a house full of contemporary women—and there are no holds barred. These women have issues: self-inflicted, family inflicted, sister-to-sister inflicted—and it is all on the page. At the center of this swirl is Margot: the sister who died in the house, and each chapter is told from the points of view of the women who orbit her death and have their own reactions to it. With a keen sense of character and elegant, observant prose, Crane details the undercurrents of tension in a world where perfection comes at a cost and the best things in life are painful—if not impossible—to acquire: Beauty. A mother’s love. And friendship… or at least the appearance of it. Woven throughout are glimmers of the classical myths that undercut the lives of women in Greek life. After all, the Greek goddesses did cause their fair share of destruction.